Fleetwood Mac Rumours (1977)

'Difficult' follow-up album to the omnipotent 'Rumours'. Nice and left-field and includes the twisted title-track 'Tusk'.

First time on silver vinyl!

Features a sublime string-drenched version of Rainy Night in Georgia that is truly beautiful, plus some great Swamp rock - loads of excellent tracks !

Acoustic-y USA rock, 73. Original vinyl

Double album from the high priestess of deep jazz recorded live in 1978.

Every track is killer! 100% essential.

Sault - the clandestine collective with a talent that knows no bounds - return with their incredible album 'NINE'; infectious, catchy, ardent soul music that perfectly soundtracks the essence of the time that we currently live. Essential release!

**Highly anticipated mini-LP on Decca from London jazz collective, Steam Down! Pre-order very limited coloured vinyl version now!**

"After years of building a truly engaged community - and taking London’s melting-pot to the world’s stage, 'Five Fruit' marks a thrilling new musical chapter for Steam Down. Uplifting, urgent and emotive, the track affirms the power of the listener, the strength of collective hopefulness, and the textures of London’s inner-city subculture. Featuring the fast-paced verses of Tinyman and Afronaut Zu (alongside Theon Cross, who has played with Kano and Sons of Kemet), here is a sound that bridges grime with jazz, and turns it all into something unmistakably Steam Down!"

If one were asked to pick an album that represented the best of British jazz in the 1960s, 'Le Déjeuner Sur l’Herbe' by the New Jazz Orchestra would be a serious contender. Recorded in September 1968, it draws together many of the key streams that had developed in British jazz in the preceding years, and also presages much of what was to come. Notwithstanding the line-up, which includes some of the very best British jazz musicians directed by an inventive and ingenious leader in Neil Ardley, the session features pieces written by the most distinctive jazz composers active in Britain at that time alongside idiosyncratic interpretations of works by John Coltrane and Miles Davis. And it’s all captured beautifully by engineer Howard Barrow and producer Tony Reeves and it features a stella cast of some of the greatest musicians, not just from that era or genre but beyond; Jack Bruce, who would become one of the founding members of Cream, Barbara Thompson, Ian Carr, Michael Gibbs, Dave Gelly, Dick Heckstall-Smith and Jon Hiseman, who went on to form one of the greatest jazz/progressive/rock bands – Colosseum.

Analog Africa focuses on a DIY scene in the African country’s capital Yaoundé during the 1970s. Recorded in haste in an adventist church and distributed by the DIY network set up by French label Sonafric. Launching the careers of several Cameroonian artists represented in this essential compilation!

Gone back from 2021-06-18 to 27/08/2021

Second part of MOV's Trojan compilation series, which celebrates the best works from the legendary reggae label Trojan Records. It was compiled by Laurence Cane-Honeysett, who also wrote the linernotes. Some of Trojan’s finest are featured on this compilation; as there are The Gladiators, The Melodians, The Gladiators, Ken Boothe a.o. 750 individually numbered copies on orange vinyl. The package also includes an exclusive Trojan / Music On Vinyl coaster.

**First time reissued on vinyl!**

The only “group” on the Black Jazz roster, The Awakening today should be heralded as one of the great bands in early ‘70s jazz. That they’re not is the result of the Black Jazz label’s distribution woes; witness the fact that original copies of both of their records for the imprint command prices in the hundreds of dollars if you can find them at all. Mirage is their second (1973) album, the last one they made together; it boasts the same Chicago-based, AACM-centric line-up as the first, with the notable addition of bassist Rufus Reid on a couple of tracks. Spiritual jazz, free jazz, soul jazz, fusion jazz, you name it—The Awakening take all those threads common to early ‘70s African-American music and, like any great ensemble, weave them into a beautiful sonic garment that’s greater than the sum of its parts. The Mirage is a bit less political/pan-African than Hear, Sense and Feel, its predecessor, which definitely owed some of its feel to the band’s Art Ensemble of Chicago/AACM roots; this record is a little more abstract, a little more varied in its moods and textural coloring, yet no less powerful and transporting.

Bassist Henry Franklin’s 1972 release for Black Jazz, The Skipper, is one of the highlights in a label catalog full of many, and his 1974 follow-up, The Skipper at Home (“The Skipper” is Franklin’s nickname), lives up to its predecessor’s high standard and might even surpass it. Which is no surprise given that a lot of the same players are on it, including trumpeter/flugelhornist Oscar Brashear, tenor/soprano saxophonist Charles Owens, and pianist Bill Henderson (here billed as Kemang Sunduza). But The Skipper at Home also boasts ace talents like keyboardist Kirk Lightsey (memorably featured on the Roland Haynes Black Jazz release 2nd Wave), trombonist Al Hall, Jr. (who appeared on Black Jazz releases from Doug Carn, Chester Thompson, and Calvin Keys), and drummer Leon “Ndugu” Chancler, who’s played with everyone from Miles Davis to Joe Henderson. The result is an album that, like The Skipper, is rooted in bop but one that nods to some of the currents that were swirling in jazz at the time; it’s a little freer, a little more electric. And, as is true of just about every Black Jazz release, the ensemble work is remarkably intuitive and swinging, driven by Franklin’s melodic, inventive bass playing.

Wheeler met and played with the rising artists of London’s free jazz scene; players such as Trevor Watts, Derek Bailey, and Evan Parker, musicians who would challenge the conventions of the day, eschewing formal composition and structure to embark on group improvisation. For a musician thoroughly schooled in all the conventions of charts and dance bands as Wheeler was, this was a radical departure. Wheeler’s contributions proved his ample flexibility and showed he was capable of inhabiting both the free environment and the more formal and controlled settings of a big band and orchestra. This was shown most clearly on his debut album, Windmill Tilter, recorded for Fontana with the John Dankworth Orchestra. The album features a young John McLaughlin on guitar along with bassist Dave Holland and a roster of talented and well respected musicians playing on one of the greatest modern jazz big band and orchestral albums.

Emotional Rescue continues to dive into the back story of One Blood, a lovers rock powerhouse who deserve revisiting now appreciation for lovers rock is at an all time high. One Blood recorded a cover of Willie DeVaghan's soul classic 'Be Thankful For What You Got' in 1980, and it gets a re-cut here for those who need to get hold of one of the sweetest versions of an evergreen anthem. Rather than the original B-side 'Ebony Eyes', Emotional Rescue have instead opted for cult Japanese producer Slowly to deliver a tasteful dub remix which gently buffets this universally adored song into outer space.

The great thing about Emotional Rescue's deep dive into reggae and lovers rock is that the tracks they decide to press up are the ear-snagging curveballs that present something just a little bit to the left of purist, trad reggae. That's the case once again with 101 Band's 'Crazy Kind Of Feeling' - a curio from Haile Maskel released via his own, LA-based label Opulence (Sound). It's a hybrid kind of sound, sitting somewhere between boogie, island funk and roots, and it goes down very smoothly indeed. On this reissue, you get treated to the original 7" mix plus an alternative 'Dub Take 2' version which stretches out over an extended run time on the B-side.

The original legendary riddim "Cuss Cuss" from Lloyd Robinson, late 60s recording featuring the bass line that launched a thousand songs..Killer!

Second single and opening song from the upcoming showcase album by Spanish singer, engineer, producer LONE ARK (Roberto Sánchez) and Switzerland finest reggae studio band THE 18TH PARALLEL, Fruits Records proudly present ‘DEFEND’. On a militant stepper riddim graced by magnificent horns, Roberto Sánchez and the Swiss band send a strong political message to the world: “The longer we fight, the stronger we get, and so we defend the rights of our brothers and sisters who cannot defend themselves.” A few weeks after ‘Get You’, here comes another sound system anthem available on black wax 7” vinyl.

Marica Griffith's uptempo early reggae cut of The Beatles classic with King Cannon aka Karl Bryan "What Happen Man" on the flip..Limited press 500 only numbered printed sleeves.

Two killer 1969 tunes from the studio of Harry J's with Richard Ace killer version of the cinematic "Hang 'Em High" with the rare "Candy Lady" on the flip..All copies are numbered, 500 only in printed brown sleeves.

Reggae star, vocalist, producer and sound system operator, Kingston JA born Minott released over 50 albums and hundreds of singles for the likes of Studio One, Wackies, Suffering Heights and his own Black Roots label. His distinctive soulful voice pioneered the Dancehall style and following his UK hit "Hard Time Pressure" he moved to London in 1980, adopting the rising Lovers Rock sound. On a visit to Wackies' offices in Soho he met Steve Parr, who had recently opened a studio next door. Keyboard player for the likes of Desmond Dekker and Geno Washington, Parr moved into composition, mixing, sound engineering and production, before setting up the Sound Design Studio in Dean Street. Principally a studio, the meeting with Minott hatched the idea to create a label to showcase their capabilities. Produced by Parr, he played all the instruments except the distinctive sax by friend Andy MacDonald. With Minott's heartfelt lyrics, this marriage created a one-off, a ground-breaking synthesised 4/4 rhythm track with funk groove and soulful vocals. Released on 7" and 12", the versions noticeably differ and is the perfect closing to the DISCO REGGAE LOVERS series.

'I Want To Be Free'. The uptempo slice of reggae sounds as infectious and incisive as it did in 1983, and this time it comes with a dub on the B-side simply titled 'Freedom'.

Surely one of the all-time greats of instrumental reggae reveries, Ernest Ranglin is widely adored for a very good reason. He was there at the very beginning, and stayed relevant throughout successive decades of Jamaican music. In 1982, Ranglin teamed up with the mighty Noel Williams in Florida and recorded a sweet cover of The Dramatics' R&B classic, 'In The Rain'. It's a heady, dreamy version with a sumptuous, widescreen sound, as romantic and immersive as the original version was and this is the first time ever on a 45. But that's not all - on the flip, Mukatsuku gets busy with a frankly stunning dub which loops up flute licks in a masterful manner.

Two 1977 roots vocal cuts featuring Delton Screechie & Rod Taylor but check both killer dub versions!

Emotional Rescue's Lovers Rock revival shows no signs of slowing as they turn their attention to the archives of Dada Music and the haunting sound of Dambala. The UK roots-reggae group had a sizable impact with their Zimbabwe / Visions Of War single in 1978, but it's their 1983 debut album Azania which is the source of this spellbinding single. 'Lorraine' is a ghostly, heavy-hearted skanker draped in digital reverb and angular new wave guitar chops, sounding absolutely reminiscent of the era and not quite the average cookie cutter reggae track. The original would be strong enough to carry the single on its own, but then for good measure the mighty Lexx comes in to dub it out on the flip.

Limited repress of "Proud Is A Babylon" but this time with instrumental version on the flip..Killer tune!

Two deep solo roots cuts from Capital Letters singer originally released in the mid 70s, clean & loud pressing.

Killer new roots vocal cut from Payoh Soulrebel over a great sampled riddim of Nyah Hunter's "Loving Bride" from GG's, check dub version!

Demo version of his hit that Bobby Oroza made at home on an MPC. Raw, contemporary soul music at it's most heartfelt! Backed with demo version of 'Will I Get Off Easy' before Leon Michels worked with the great Lee Fields.

We Release Jazz release this official reissue of Hiroshi Suzuki’s glorious jazz-fusion-funk holy grail Cat (originally released in 1976)!

SOLD OUT!! PRESS REMIND (the envelope below the price) - we will find out tomorrow (thur) if we can get more - If u do this you will get an email immediately if we can get more!

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500 pages! Over 200 photos!

Absolutely stunning book documenting Don Cherry's musical and personal world in Europe - really one of the best books we have seen! So full of details and stunning ephemera, text and more! REALLY GOOD BOOK!

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Jazz icon Don Cherry and textile artist Moki Cherry (née Karlsson) met in Sweden in the late sixties. They began to live and perform together, dubbing their mix of communal art, social and environmentalist activism, children’s education, and pan-ethnic expression “Organic Music.”

Organic Music Societies highlights models for collectivism and pedagogy deployed in the Cherrys’ interpersonal and artistic work through the presentation of archival documents alongside newly translated and commissioned writings by musicians, scholars, and artists alike.

Covering Don Cherry's ensembles during his Sweden years and beyond. Two selections of Moki’s unpublished writings—consisting of autobiography, observations, illustrations, and diary entries, as well as poetry and aphorisms—are framed by tributes from her daughter Neneh Cherry and granddaughter Naima Karlsson.

Swedish Cherry collaborator Christer Bothén contributes period travelogues from Morocco, Mali, and New York, providing insight into the cross-cultural communication that would soon come to be called “world music.” The collection also features several previously unpublished interviews with Don. Also here is a an interview with Terry Riley.

Taken together, the texts, artwork, and abundant photographs collected in Organic Music Societiesshine a long overdue spotlight on Don and Moki’s prescient and collaborative experiments in the art of living.